I have listened to a number of your pieces on your Composers Forum page and also on your web-site. I am also an improviser as well as a composer working in a more conventional way so I can appreciate the attraction of producing music in the way that you do.
I have worked in a lot of different areas of improvisation but my main activity in this field has been as a jazz performer.The attraction for me is twofold,firstly that in live performance you are constantly walking a tightrope and the music stands and falls on what you think and feel at any given moment,it is also driven by the group dynamic and can also stand and fall on that too.Also unless it is recorded,once it's gone it is gone!
Secondly it is mostly very far removed from the music that I write which is very detailed and organised although some of my music does contain improvisation (Threnody, Song for Sarajeyvo for instance.) I also write jazz compositions which obviously also contain improvisation.
Your own approach is quite fascinating,you have the immediacy and energy provided by the act of improvisation but there is a logic and sense of form to the music combined with a good ear for orchestration. It also sounds very focused and not self-indulgent which is not always the case with what is essentially free improvisation.
Some of the piano pieces are occasionaly reminiscent of Cecil Taylor which I intend as a compliment as you are obviously a hell of a pianist yourself!
The other interesting thing is that your music is also a product of the technology and to some extent is driven by it.
I like your sound world and although we work in completely opposing ways there are some similarities.
Andrew, many thanks for listening and commenting! By Train to Petushki unfortunately never has been performed. I wrote it in Finale Printmusic and "mastered" it with Live 3 and Samplitude. Surely I will look if it's possible to use fractals for composing ;-) Did you try? Kind regards. Rudi
I've listened several times to your whole suite. I wouldn't delete any part. Which to your opinion is a weak part? To me it's consistent as it is. In 8 "The Coven of Witches" at 1:30 start some high frequencies which are hard to bear - I suppose it was your intention. If so leave it as it is. A few times I had simpsonish flashes - maybe due to the used mode or a series of Intervals. To me it's great work!
Hi Andrew, I'm glad you like this version. And thank your for your advice. I will try inverting the themes and look, what can be used. Accelerating might work with the few slow motifs - but I already have some themes used in different velocities. Thanks again! Rudi
Thank you, Andrew! I've just uploaded my reworked "Dämmerung". Thanks to the feedback here I was able to see (and hear) some weak points. It now, hopefully, sounds wetter, the "surface" is more structured and transparent and the tempo is humanized by applying a light rubato. I also orchestrated it for chamber orchestra - it get's an interesting change of character (maybe there's too much piano). Kind regards. Rudi
Hello Mr Andrew,
I would like to thank you for your time on my piece. I just needed an opinion for this style of music in which I am experimenting right now.. As a matter of fact the Vsti you didn't recognise is Finale's Kontakt Alto sax. I'm experimenting in some kind of chilling out music and didn't find anything soother.
Thanks again for your time and advise.